must begin by saying that if 1980's pop electronica didn't do much for you then, this album won't do much for you now. It is very dated, but that's ok. It contains songs by Freddy Mercury of Queen, Pat Benatar, Jon Anderson of Yes, Cycle V, Giorgio Moroder, Bonnie Tyler, Loverboy, Billy Squier, and Adam Ant. And of these artists, the one that still endures is Freddy Mercury. So, it should come as no surprise that his is the first song on the METROPOLIS CD.

I think LOVE KILLS is one of most beautiful songs ever recorded; maybe it's because I'm partial to Freddy Mercury. He has an extraordinary voice and a command of it uncommon in the pop music industry. I love all the songs in the CD but this one is my favorite. CAGE OF FREEDOM by Jon Anderson is deeply rooted in Philosophy. It is a very thought-provoking song about the meaning of fear, suspicion, civilization, capitalism, tyranny, greed, hate, and paranoia. He encapsulates the METROPOLIS message in phrases like "...all the trappings of our own design. Blind ambition, steals our reason. We're soon behind those invisible bars...on the inside looking outside; to make it safer we double the guard." and, "Cage of Freedom growing smaller till every wall now touches the skin... Filled with treason, changing sides as the losses begin." Cycle V does some beautiful synth work on BLOOD FROM A STONE. And so does Giorgio Moroder on THE LEGEND OF BABEL and MACHINES. Bonnie Tyler does a song about the evil robot that sweet Maria is turned into. It's a great tune that combines Tyler's unique voice with guitar sounds that truly rock. Loverboy's guitars also rock in DESTRUCTION. Billy Squier has captured quite an eerie sound in ON YOUR OWN. Adam Ant asks "Is there a mask behind the face...can a smile conceal a sneer...can we see clear?" in his song WHAT'S GOING ON. "How does it feel to lose control? - Feels like hell. So who's a friend and who's a foe, can we tell?"

If you're familiar with the METROPOLIS film, you know its premise and hopefully its history. It was deemed immoral and subversive by the sacred cows of power in Germany during those dark years. We are lucky to have any copies of the film at all. Giorgio Moroder has done an amazing job of giving it a more suitable soundtrack to emphasize its message. I was in college when I saw the colorized version of METROPOLIS. It was required viewing for one of my classes. I think Fritz Lang would be very flattered with Giorgio's updates. The original film, of course, stands on its own as a landmark in cinematography. Yet, the colorized version with its new soundtrack gives it a beauty and power it never had. The essence is the same; the message is unblemished...what Giorgio has done is restore its impact.